Skip to main content

Full text of "Pennsylvania Museum Bulletin. Number 38, April 1912"

See other formats







APRIL, 1912 

atarad, August 27, )-*)3. at Philadelphia, Pa., a* Second-Class Mailer, under Act of Conzress o( July 16, 18!M 



ffioavo of trustees 

The Governor of the State, Ex-Of. 

The Mayor of the City, Ex-Of. 

Charles Bond 
James Botterworth 
John G. Carruth 
Isaac H. Clothier 
Charles E. Dana 
Thomas Dolan 

Harrington Fitzgerald 
Charles H. Harding 
Mrs. John Harrison 
Thomas Skelton Harrison 
John Story Jenks 
John H. McFadden 
John T. Morris 


John W. Pepper 
Theodore C Search 
Edgar V. Seeler 
Edward T. Stotesbury 

Jones Wister 
William Wood 







LESLIE W. MILLER, Principal of the School 

\ VI 



jfov Bpril, Nineteen MunoreD ano twelve 

Drawipg Room Set of Furniture, Louis XVI. Period, by 
Mrs. Cornelius Stevenson 

Wall Table, of Boulle Style, XVIIIth Century, by 

Mrs. Cornelius Stevenson 
Old American Silver ..... 

Old Glass 

Notes ........ 

Accessions . . 


OF Dfi6 


April, 1912 Number 38 



At a sale held in the Philadelphia Art Galleries on January 31, 1912, of 
the effects of the Lenox estate, some authentic furniture known to have been 
in the possession of Major David Lenox and his niece, Miss Sallie Lukens 
Keene, was obtained for the Museum. This proves a valuable addition to 
its collections. The purchases consist of a set of drawing-room furniture of 
Louis XVI period, including two sofas and six arm chairs. Three "conver- 
sation" chairs with a padded top-railing on which the gentlemen rested their 
arms, when straddling the chair, by which attitude their handsome brocaded 
coats were kept in their pristine condition of smoothness and beauty, make up 
the eleven pieces of the set. In France these chairs were called "Voyeuses" or 
"Voyelles." They were used by men, as above described, for conversation and 
also by such as surrounded a gaming table to watch the game. They came 
into vogue about 1740 and did not survive the eighteenth century. They are, 
therefore, very rare. In an inventory of Germain Soufflot's effects taken at 
the Tuileries (August 29, 1780) is the following entry: "A sofa of tapestry, 
twelve arm chairs of red Utrekt velvet, four small voyeuses also of velvet, of 
which two in red velvet and two green." * * * (1) 

Madame Campan <;2) telling how her father-in-law informed Louis XVI that 
Comte d'lristal was planning to carry off the royal family, says : "The King was 
playing whist with the Queen, Monsieur and Madame. Madame Elizabeth was 
kneeling on a 'voyeuse' near the table." Some "voyelles" had an open-work 
lyre-shaped back with padded top-railing. In those that form part of the 
Lenox-Keene set, however, the backs are plain and upholstered in the same 
material as the rest of the furniture. 

CD Havard IV., p. 1785. 
(2) Memoires, p. 268. 



The woodwork is of carved wood, white and gilt. In some of the pieces, 
the canary-colored silk coverings, upholstered with blue silk galloon one and 
one-half inches in width, are in a fair state of preservation. In others, they 
are much dilapidated, but even in these the woodwork is admirably preserved. 
The backs of the sofas are draped with canary-colored silk, edged with blue 
tasseled fringe. Casters were added at a later date, probably to raise the height 
of the sofas, which, as characteristic of their epoch, are very low. 

Louis Sixteenth Period 

Two tabourets of later date are of heavier empire style, decorated with 
massive wreaths of gilt. A pair of gilt fire-screens standing on claw-feet, and 
a handsome white and black marble clock of empire style, with ormolu mount- 
ings, also form part of the purchase bv the Museum. 

Major David Lenox, the original owner, was a well-known Revolutionary 
Army officer who, at one time, represented this country at the Court of St. 
James. He is said, by family tradition, to have bought this furniture in Paris 
before the Revolution. It was later shipped to this country from England. 
Major Lenox, after the Revolutionary War, was for many years a director in 
the P>ank of the United States and succeeded Thomas Willing as President of 
that Corporation in 1807, remaining in office until the winding up of its affairs. 
In 1813 he was elected president of the Philadelphia Bank, retaining the office 
until 1818. After this, he spent the end of his days "in dignified retirement" 
and died in 1828 at the house at Tenth and Chestnut Streets built by him. 

Major Lenox's wife was Miss Lukens, of Montgomery Countv, a descend- 
ant of John Lukens, Colonial Surveyor General of the Province. Of local 




interest is it to know that they were married in the west parlor of the Wister 
House. Belfield, in Germantown, which they occupied for a time. He was 
elected to the First City Troop (1777). then called Philadelphia Light Horse. 
His exploits and narrow escapes during the Revolutionary War form the 
subject of interesting stories in Westcott's "Historic Mansions and Buildings 
of Philadelphia." He was. among other public offices, appointed Commis- 
sioner in Bankruptcy for Pennsylvania and held the office until 1790. In 1793, 
he succeeded Clement Biddle as Marshall of the United States for the district 
of Pennsylvania. 

It is of record that in 1785 he was living in Spruce Street between Second 
and Third Streets. 1794. however, found him in Vine Street near Third. He 
also resided in a fine mansion which he erected in Arch Street (South Side) 
east of Ninth Street next to the corner lot, which then was his garden. Here 
he remained until 181 1, Thomas Cadwalader succeeding him. Major Lenox 
then moved to No. 286 Chestnut Street — where he lived while building what 
was then regarded as an elegant mansion, at the northwest corner of Tenth 
and Chestnut Streets, where he died. It was a brick house, three stories high, 
with loftv garrets. The brick-work was of the most elaborate character yet 
seen here, the plain walls being broken with pilasters, arches and other archi- 
tectural devices. It is also on record that the superior architecture of this 
house attracted much attention. At his death without children, the house and 
its contents passed into the possession of a niece of his wife. Miss Sallie Lukens 
Keene. This lad}- had been a great beauty in her day. celebrated for her wit 
and many graces. She was a daughter of Major Lawrence Keene, of Sunbury, 
a highly reverenced figure of Revolutionary days, and of Miss Lukens, a 
sister of Major Lenox's wife. An interesting account of her is given in the 
issue of the Sunday Dispatch of August 11, 1872, in answer to a correspondent's 
question with regard to the mansion at Tenth and Chestnut which was eventu- 
ally sold to the Mutual Life Insurance Company of New York. It would 
seem that the side lot of the mansion had been intended by the Major for a 
residence for his niece in the event of her marriage — should it meet with his 
approval. The writer of that account remembered, as many others then did, 
the taking of Miss Sallie L. Keene to Europe in the beginning of the nineteenth 
century, under the reign of one of the Georges. She was presented at Court 
where she created quite a sensation. On her return she had many serious 
admirers. A well-known brewer, among the rest, proposed to her but was 
rejected. Mrs. Lenox remarking that she "had not taken Sally to Europe that 
she might on her return marry a brewer." 

Miss Keene continued to live in the Lenox mansion until 1866. when she 
died in her eighty-sixth year. She is buried in St. Stephen's Churchyard. 
The old Keene Mansion had undergone no changes since its erection nor had 
the furniture been in any way altered. In her obituary notice in the Philadelphia 
North American and United States Gazette, May 6, 1866. the statement is 
made that she could repeatedly have disposed of her homestead at a very large 
price but. to the last, refused to part with it. In her will she devised the 
mansion and lot to three nephews and nieces of Major David Lenox, bttt 


devised the furniture of the said house "All and entirely with my silver plate 
and my wearing apparel and my jewelry, except such articles as I shall here- 
after name, with all my books and musical instruments, everything in the 
house to my beloved niece, Ellen Keene." 

At the death of this niece, some years ago, who had subsequently married, 
certain bequests of Miss Keene's became operative and in the course of the 
settlement of the estate, the furniture came under the hammer — with the 
result that the pieces enumerated above found their way to the Pennsylvania 
Museum and School of Industrial Art — where they will remain undisturbed 
and cared for to the end of time. S. Y. S. 


At the same sale of furniture forming part of the Lenox Estate, which 
took place on January 31 , 1912, the Pennsylvania Museum also acquired, through 
the generosity of Mr. John H. McFadden, a fine old Boulle wall-table which, 
according to a tradition handed down in the Keene family, was purchased in 
Paris by Major Lenox before the Revolution, and shipped from England with 
the rest "of his possessions on his return to this country. Judging from the 
table itself, the specimen is probably of Louis XV or early Louis XVI manu- 
facture. The legs are curved after the fashion of the Louis XV period in 
contrast to another eighteenth century Boulle table in the Museum's collection, 
which is of pure Louis XVI, and the legs of which are straight according to 
the style in vogue in the last quarter of the eighteenth century. The same 
difference exists in the style of ornamentation. In the Lenox-Keene piece 
the copper gilt inlay is more elaborate and represents a definite scene with 
animated human figures as well as scrolls and conventional designs. The 
surfaces of inlay are somewhat larger and richer than are those observable 
in the purelv conventional geometric designs of the later period which are 
executed with a noticeable lack of imagination. 

As an art, the work of Boulle may be traced back in its inspiration to Italian 
marqueterie. One of the important effects of the royal matrimonial alliances 
between the reigning house of France and the House of Medici, in the sixteenth 
century was the influx of Italian artists and artisans that spread over the 
country and influenced French industries. Incrustations in the Italian taste, 
mosaic, painted plates, ivory, mother-of-pearl and even amber inlays appeared. 
Brass inlay and tortoise shell applied on wood followed, and this technique 
took the name of its principal exponent, "Boulle." It is about this time that 
the console table and the "gueridon" are first seen. Under Louis XIV the 
"ebeniste" Lepautre proceeded directly from the Italians, and Domenico Cucci, 
"ebeniste et fondeur" — as appears from the account books of the time, was 
noted for ornate ebony cabinets ornamented with Florentine mosaic work, and 



superb bronze door-handles, locks, bolts and mountings. It is not unlikely 
that some of the bronze ornaments used on Boulle's furniture came from him. 
Filippo Caffieri another noted artist fills the gap between Cucci and Lebrun. 
Andre Charles although credited with the invention of the style of Marqueterie, 
known as Boulle, was obviously not the first to do this work. Father Orlando 
in his "Abececlario Pittorico" published in 1719 — i. c. during the life of 
Andre Charles, and therefore probably exact — states that the artist must have 
devoted his time to painting had not his father, artisan cabinet-maker ( artifice 
ebenista) influenced him to follow his art. Who was this father? No one 
knows, save that he inhabited Paris, since Andre Charles was born there on 
November n, 1642. Charles Read, who tried to solve the riddle, discovered 
that the Boulle family was of Protestant origin and belonged to the Reformed 
Church of Charenton. Certain official documents found by him state that as 
early as 1 61 9 a certain Pierre Boulle was cabinet-maker to the King and lodged 

Latter Half of Eighteenth Century 
Given by Mr. John H, McFadden 



in the Louvre. His wife was Marie Bahuche, a sister of Marguerite Bahuche. 
widow of the famous Jacques Bunel, first painter to Henry IV and herself a 
painter. But the free lease of the Louvre lodgings made over to the painter 
Thomas Picquot "in the place of the late Sieur Boulle, Carpenter in ebony" 
is dated January 2, 1636; which conclusively proves that this could not have 
been the father of Andre Charles, who was born six vears later. Thanks to 



Mr. Read it is known that this man had five children of whom three were 
sons — one of these may have been his father, provided he married young. 

There is, however, another Pierre Boulle. also royal cabinet-maker, on 
record in the royal archives who was paid a salary in 1636, "up to August 1st." 

Of all this, the only certain fact is that Andre Charles was not the founder 
of the celebrated family of artisans, as some twenty years before he began 
work, furniture was already made in marqueterie, of which shell and burnished 
copper inlays furnished the decoration, as appears from the "Inventaire du 
Cardinal de Mazarin," drawn 1653, when our artist was only eleven years of 
age. A piece is therein described : "Another cabinet of tortoise shell and 
ebony inlaid with copper gilt on the sides, carried on four monsters of copper 
gilt. The four corners provided with copper gilt corners, a jour, with leaves, 


masques, cartouches and animals, the front of drawers of copper gilt with 
figures representing divers fables of Ovid's 'Metamorphose,' set into surfaces 
of tortoise shell."' 3 ' 

However this may be. Andre Charles Boulle was the most famous cabinet- 
maker of this epoch. He lived at the Louvre where he was born in 1642. Two 
of his family were "menuisiers du roi" before him and lodged in the Louvre, 
although it is not clear what relation he bore to Jean and Pierre Boulle, the 
latter of whom died at the Louvre in 1680. Andre Charles started life as an 
artist and little is known about him until the year 1672, when he is on record 
as having been granted the lodgings in the Louvre become vacant by the 
death of Jean Mace, because of his experience as "ebeniste, faiseur de Mar- 
queterie, doreur et ciseleur du roi." A second grant, bearing date 1679. adds 
to the above the half-lodging formerly used by Guillaume Petit, in order 
that he might complete the works ordered of him by his Majesty. 

Father Orlando' 4 ' is responsible for the information that Boulle also was 
an architect, painter and sculptor in mosaic, as well as a draftsman of mono- 
grams and Keeper of the Royal Seals. From various accounts it would appear 
that no branch of art was foreign to him. and his personality was such that 
he could hardly be classed among cabinet-makers pure and simple. 

At first, he seems to have worked in wood "marqueterie" and he long 
continued at this style of workmanship. In the second half of his life, he 
became penetrated with the great compositions of Lebrun, and it is then that 
he composed those fine pieces of shell and copper inlay, with fine gilt figures — 
some of which have been preserved in museum collections. Later again, 
influenced by Berain, who, in turn, was largely indebted to Lebrun, he made 
use of the grotesque and added to gilt copper, tin inlays. It has been said 
that his four sons "aped" him, but some good pieces have been preserved from 
their workshops, and their work is far from representing all that has been 
left in imitation of Boulle. In the early years of Louis XVI the Boulle fashion 
returned and his work was again copied. But these later pieces have no 
longer the large vigorous execution of the master and they offer a fineness 
of execution unknown to him. The first are gilt in ormolu while the others 
are gilt in "or mat" a style in which some of the effect is lost. 

In the earlier examples of the style made by Boulle. the inlay was pro- 
duced at great cost, owing to the waste of material in cutting, and the shell 
is left of its natural color. In the later work the manufacture was more 
economical. Two or three thicknesses of the different materials were glued 
together, and sawn through at one operation. An equal number of matrices 
or hollow pieces exactly corresponding, were thus produced, and, by counter- 
charging, two or more designs were obtained bv the same sawing. These 

(3) Havard III., 736, Paris. Quantiu. 

See also A. de Oiampeaux "Le Meuble," p. 6 and following. 

Comp. witli "Pierre et Charles Andre Boulle" (Archives de l'art Franqais I., IV.). 

Also with Charles Asselineau, "Andre Boulle, Ebeniste de Louis XIV." 

Also Esther Singleton, "Furniture." p. 50-191 1. 

hi Abecedario Pittorico. 


are technically known as boulle and counter, the brass forming the ground 
work and the pattern alternately. In the later "boulle" the shell is laid on 
a gilt ground or on vermilion as in the Lenox-Keene table. Sometimes the 
two styles are distinguished as the first part and the second part. The general 
opinion on the relative value of each seems to be that, while admitting the 
good effect of the two styles as a whole, the first part should be held in higher 
estimation as being the more complete. In this may be seen with what intel- 
ligence the elaborate graving corrects the coldness of certain outlines ; the 
shells trace their furrows of light, the draperies of the canopies fall in cleverly 
disordered folds, the grotesque heads grin, the branches of foliage are lightened 
by the strongly marked edges of the leaves, and everything lives and has a 
language. In the counterpart we can find only the reflection of the idea and 
the faded shadow of the original/ 5 ' 

The specimen just secured for the Museum shows boulle and counter, the 
brass forming both groundwork and design. 

From 1673, accounts of royal edifices frequently mention Boulle, who 
worked on a salary, beside extras. In 1681, eight thousand livres were paid 
him for an organ-cabinet finished with gilt bronze ornaments. 

He did important work for the Dauphin at Versailles ; and a large coffer 
on a console by him is in the San Donato Collection. He also executed orders 
for foreign Courts — Spain, Bavaria, Lorraine, etc. The man, however, was 
always in money difficulties. He was a collector of prints and bought often 
on credit. In 1704 the King had to stand between him and his creditors on 
promesse that he would pay them. Sixteen years later, however, his workshop 
was destroyed by fire at a direct loss amounting to 221,380 livres — while in 
orders for customers his losses were estimated at 72.000 livres. besides work 
on hand of his own, 30,000 livres. The sum total of his losses it is said, 
amounted to 383,780 livres. 

Andre Charles Boulle died in 1732. His son Charles Joseph died at the 
Louvre in 1754. The business was then continued by his two first cousins, 
Pierre and Pierre Thilmant — Boulle. 

Most of the numerous works of Boulle have been repaired, and copied 
by clever pupils. In the second half of his long life, in his own designs he 
seems to have followed Lebrun, and his brass marqueterie is generally on a 
field of black tortoise shell. Later he adopted the more fanciful style of 
Berain. "draftsman of the Royal Chamber and Cabinet" — who likewise lived 
at the Louvre and had been trained in Charles Lebrun's atelier which turned 
out so many artists — spreading his mythological or comic figures on a field 
of tortoise shell made to reflect various colors. He also used the designs 
of other artists ; and Domenico Cucci finished many gilt bronze ornaments 
and reliefs for his furniture. His imitators were many, and they gradually 
strayed more and more from the master's models, until in the late eighteenth 
century their ornamentation is without character — finicking in style and largely 
made of tin. S. Y. S. 

(5) Havard. loc. cit. 




Philadelphia had many prominent silversmiths in the latter part of the 
seventeenth century and through the eighteenth and nineteenth. Believing 
that much of the silverware produced from the earliest times in this city is 
still preserved by the older families, the Museum Committee recently authorized 
the Director of the Museum to communicate with all of the members of the 
Pennsylvania Museum and School of Industrial Art, and others, asking for 
contributions of such pieces as could be identified as of American manufacture. 
Numerous responses to this appeal have already been received, with offers of 
many interesting examples as permanent or limited loans. 

Silver Creamer, by Christian Wiltberger 
Silver Coffee Pot and Creamer, by Joseph Shoemaker, Philadelphia 

The recent exhibition of early American silver in several of our art 
museums has brought out the fact that Philadelphia was at a very earlv period 
an important centre of the silversmith's art. By carrying out the policy 
adopted by this Museum some years ago, of building up collections illustrating 
the various industrial and ornamental arts in this country, large and important 
historical collections of American pottery and porcelain, glassware and pewter 
have been gathered together. It is now the intention of the management to 
increase the collections of American metalwork in the various branches of 


Silver Creamers, by Philip Syng and Joseph Lownes, Philadelphia 
Silver Can, by W. Ball, Philadelphia 

Silver Coffee Pot and Tea Pot 
Lent by Mrs. Thomas Skelton Harrison 


the art, such as iron work, brass work and plate. Already the Museum has 
on exhibition an important group of early American iron work and brass, and 
the nucleus for a collection of silver. 

Among the examples of American silver acquired by the Museum may 
be particularly mentioned a coffee pot and cream jug made by Joseph Shoe- 
maker. Philadelphia, about 1797, the coffee pot being marked with his name 
in full; a creamer by Christian Wiltberger, Philadelphia, about 1793; a small 
creamer by Joseph Lownes, Philadelphia, about 1796; creamer by Philip Syng, 
Philadelphia, about 1780; can by William Ball, Philadelphia, about 1788, lent 
by Mrs. Cornelius Stevenson ; coffee pot of American make, but unmarked, of 
the period of about 1770- 1790, with inscription on base stating that it once 
belonged to General Washington. This beautiful example has been lent by 
Mrs. Thomas S. Harrison. 

Among the American makers of flat ware (spoons, forks and sugar tongs) 
are the following: 

Philadelphia: James Musgrave. about 1797: William Walker, 1796-1811; 
A. Brasier, 1797-1819; James Howell, about 181 1; Allen Armstrong, about 
1814; T. Fletcher, about 1824: R. & W. Wilson, about 1831 : Stockman & 
Pepper, about 1831 ; H. J. Pepper, about 1835; G. K. Childs, about 1837: 
James Wriggins, about 1841. 

Burlington, X. 1.: Nathaniel Coleman, about 1819; J. P. Fireng, about 

The following manufacturers are also represented : N. Olmsted & Son, 
Xew Haven, Conn., about 1830; George Baker. Providence. R. I., about 1825; 
J. O. & W. Pitkin, Hartford. Conn., about 1830: William Homes, Boston, 
Mass., about 1780: S. & E. Roberts, about 1830; I. Tanguy, about 1825. 


Some important additions have been made to the collection of old glass. 
Among these are two remarkable examples of Mexican glass of the eighteenth 
century, consisting of an enormous tumbler, or pulque glass, measuring twelve 
inches in height and ten inches across the mouth. It is decorated with floral 
designs cut into the surface and gilded. The gold shows traces of having 
been reheightened with black or dark green pigment and other colors, which 
have for the most part worn off. The other piece is a vase fifteen inches in 
height, similarly decorated. These pieces were presumably produced in Puebla, 
.Mexico, under Spanish influence, the vase in particular "being a characteristic 
old Spanish form. 

A similar vase, but of about half the height, has been deposited in the 
collection by Mrs. Cornelius Stevenson. This specimen was procured in Mexico 



x j= ■= 

S 0) - - 






about 1856. These three examples of Hispano-Mexican glass are particularly 

attractive because they have been blown, and not made by modern processes. 

There has also been placed on exhibition in the glass department, an 

interesting little group of violin-shaped scent bottles, such as are attributed in 

French, Eighteenth Century 

European museums to the seventeenth century and to a glass manufactory 
at Orleans. Investigation shows that this attribution is incorrect, as these 
little objects are undoubtedly of the eighteenth century, and while probably 
of French manufacture, as indicated by the presence of the fleur-de-lis in the 
relief decorations, it has been impossible to trace them to any particular manu- 
factorv. These little vials are usually dark blue in color, but there are also 
examples of clear white glass and amber-colored glass. One example, bearing 
in relief a two-headed eagle, is probably of Austrian origin. 

Old English wine glasses, which at present are in great demand among 
collectors in England, are seldom found in this country. Three typical exam- 
ples, however, belonging to the latter half of the eighteenth century, have 
recently been added to the Museum collection. Writers on English glass have 
divided these interesting objects into groups according to stems, shapes of 
feet and and shapes of bowls. The stems may be either plain, consisting of 
clear glass, or they may contain twists, known as air twists, white twists or 
colored twists, or they may possess knobbed or baluster stems, or the stems 



may be cut. The examples recently procured, which are shown in the accom- 
panying illustration, have air twist stems of different patterns, the third one 
with the conical bowl being drawn, that is, the bowl and stem have been made 
in a single piece, while in the other two pieces the stems have been made 
separately and attached to the bowl. In addition to these three examples the 
Museum also possesses a most interesting little group of English and Dutch 
wine glasses with air twist and white twist stems. 

There has also been placed on exhibition a little collection of millefiori 
glass, in the form of paperweights and mirror knobs, such as were in common 

Eighteenth Century 

use previous to the Centennial Exhibition. Nearly every family possessed 
one or more of these glass balls with brightly colored designs, formed with 
patterned glass rods placed side by side, or with thin slices cut from the ends 
of the same rods. These most interesting objects show an infinite variety of 
designs and colorings. The display includes patterned glass rods and partially 
finished specimens illustrating the process of manufacture and the revival 
of a very ancient art in modern glass-working. Possessors of such objects 
are invited to contribute their specimens to the exhibit, either as gifts 
or loans. 




New Cases — Five new cases have been purchased to replace the old 
cases containing the Alfred Duane Pell collection of European porcelains in 
the East Gallery. 

Figurines — The Robert H. Lamborn collection of Mexican figurines has 
been installed in a room on the north side of the building, where the collections 
of dolls are exhibited. 

Colonial Fire Engine — One of the earliest hand fire-engines ever used 
in Philadelphia has been presented to the Museum by Mrs. Frederic Courtland 
Penfield. This interesting historical relic, which is in good state of preserva- 
tion, was used for many years at the chemical works of Messrs. Powers and 



Weightman. It is of diminutive size, — four feet wide, by eight feet in length, — 
and was worked by two pumping rods which extended along the sides. The 
woodwork is much weather-worn but shows evidences of having been at one 
time brightly painted, and on a panel at the front end can be faintly traced 
a painted "No. i" which seems to indicate that it belonged to the first fire 


company. This quaint little engine has participated in a number of parades 
and is believed to date back to about 1735. 

Cover Design — The cover design used on this issue of the Bulletin, 
the work of Stanley Zbytniewski, a pupil of the school, was last season awarded 
the first prize, offered by Mrs. J. L. Ketterlinus, of the Associate Committee 
of Women. 

Reception — A reception to the members of the International Congress 
of Waterways, which will convene in Philadelphia in the latter part of May, 
will be held at the Pennsylvania Museum in Memorial Hall. The members 
of the Corporation will be duly notified of the date of the reception. 

Furniture Exhibit — Three new alcoves are being constructed in the 
furniture room (East Arcade), which will complete the exhibit in that apart- 
ment. One of these will be finished in the Gothic style of the fifteenth and 
sixteenth centuries, as a background for a display of Gothic furniture, which 
has been generously offered by Mrs. John Harrison. 

Another alcove will be finished in the Italian Renaissance style of the 
seventeenth and eighteenth centuries, in which will be installed the Museum's 
group of old Italian furniture. These improvements will be finished in time 
for the annual reception in May. 

School Notes — Mrs. James Mifflin has presented for the Sketch Class, 
a set of costumes consisting of twenty-five complete suits of Venetian, English. 
and Continental types, and many parts and accessories, which belonged to a 
member of Edwin Booth's company. 

The members of the Interior Decoration Class have had, through the 
courtesy of Mr. and Mrs. Charlton Yarnall, Mr. Francis T. S. Darlev, Mrs. 
Samuel Price Wetherill, and Mr. John H. McFadden, the privilege of inspecting 
the decorations in their houses, and the collection of artistic objects gathered 
about their apartments, — an opportunitv which has given the pupils much 
pleasure and profit. 

Over one hundred new pupils entered the Art Department in January and 

It is of interest to note that the State Department of Public Instruction 
of New Jersey now recognizes the Diploma of the School as sufficient guarantee 
of the holders' qualifications for the positions of art teachers in the schools of 
that State, to engage them without the State examination, up to this time 
exacted of all candidates. 


Dr. Tames P. Haney, Director of Art Education in the High Schools of 
New York, requested an exhibit of plant analyses and applications to design 
of forms derived from them, to use in his lectures before the teachers of 
the entire city, as examples of a process of study for obtaining original ele- 
ments, which is especially developed and practised in this School. In a recent 
showing of the work of our students on the Pacific Coast from Southern 
California to Oregon, this feature attracted particular attention. This is due to 
the fact that so much so-called design is taught simply as a system, a given 
formula of space divisions and motives, presented as ready-made elements 
to combine ; nd recombine, leading to the work of so many schools looking so 
much alike, and making the source of the elements patent. 

An exhibition of art reproductions, purchased in Italy for the use of the 
Art School from funds presented by the Associate Committee of Women 
and Mrs. John Harrison, was held by the Alumni Association for ten days 
in attractively arranged surroundings. A comprehensive collection of Byzan- 
tine objects is included and will form an important addition to the examples 
previously secured. The chief subjects are taken from originals at Ravenna, 
of the best type and period, some representing the utilization of the antique 
motives in modern adaptations, which elements the students adopt in their 
work in cement and clay, and to some extent in silver. Mrs. Harrison's 
gift includes three fine bronzes, — a replica of the Fawn with the Wine 
Skin, an Etruscan vase, from the Pompeian collection of the Naples Museum, 
reproduced in ever)' detail of lava and fire scar, by Marcellini, and a 
head of one of the younger Medici, from the original which is in Florence. 
A bronze lion's head enrichment of a door, also by Marcellini, is one of the 
subjects, and a considerable number of the decorative coats of arms of Floren- 
tine families has been selected. 

The Illustration Class is the largest ever enrolled and will have a 
consistent, strong type of work to mark the end of its first vear under 
Mr. Everett. 

The exhibit to be sent to the International Art Congress, which meets 
every four years, is prepared for Dresden, where the sessions will be held 
this season in August. The space is somewhat limited, permitting only forty 
mounted examples of work. All the subjects of crafts, — furniture, pottery, 
wrought iron, book-binding, etc., — have to be shown in photographs, as the 
American Committee has refused to receive actual objects for shipment. This 
defeats the showing of the Byzantine jewel caskets in silver, which were 
being made by several of the students especially for this exhibition. Another 
feature was to have been enameled jewelry, the motives derived from natural 
suggestions of plant and insect forms, and among the pottery was to be included 
some of the experiments in sgraffito, the old Italian two-layered clay tiles, 
so simple and effective as decoration and of which we hope to make a con- 
siderable display at our June showing. This form of decoration is also being- 
used upon some of the bowl and vase forms in a new manner, and trials are 
being made with stoneware clay, with smaltz as the color, in combination with 
incised ornaments. 


January— April, 1912 








Mummified Human Head, Foot, and Hand, An 

cient Egyptian lj-ent by the Numismatic and Anti- 

Plaster Cast of Tablet from Palenque 
Hypocephalus, Ancient Egyptian 


quarian Society. 

Pottery Platter, View of "The Residence of the 

Late Richard Jordan," Made by J. Heath & 

Company, Staffordshire, England, c. 1835 Bought 

3 Vases, "Vasekraft" Pottery, Made by the Ful- 

per Pottery Company, Flemington, N. J., 191 1 Given by Mr. John T. Morris. 

Black Clay Oinochoe, Etruscan ■ 

White Porcelain Incense Burner, Chinese 

Porcelain Vase, Rose Ground, Chinese 

Porcelain Tea Jar, Yellow Ground, Chinese 

White Porcelain Figure of Quan-Yin, Chinese... 

Porcelain Group of Quan-Yin and Two Children, 


3 Vases, "Vasekraft" Pottery, Made by the Ful- 

per Pottery Company, Flemington, N. J., 1911 Given by the Fulper Pottery Company. 

Anglo-American Pottery 

>Lent by Mrs. Arthur Biddle. 

Cream ware Pitcher, With Black Printed Decora- 
tion, "Massacre of the French King," Liver- 
pool, England, 1795 

Bought — Annual Membership Fund. 

Pottery Pitcher, Head of Washington and Names 
of Fifteen States Printed in Black, Liverpool, 
England, c. 1800 Bought — Special Museum Fund. 

Cloisonne Enamel Jar and Brush Pot, Japan, 

18th Century Bought — Annual Membership Fund. 

Table, Tortoise Shell Inlaid With Brass Designs, 
Made by Charles Andre Boulle, France, 18th 
Century Given by Mr. John H. McFadden. 

4 Arm Chairs and 2 Sofas, White and Gold 

Wood, Upholstered in Canary-Colored Silk, 

France, Period of Louis XVI Given by the Associate Committee of 

2 Arm Chairs, 2 "Conversation" Chairs, and 2^1 

Fire Screens, White and Gold Wood, Uphol- 
stered in Canary-Colored Silk, France, Period 

of Louis XVI I 

2 Tabourets, Gilded Wood, Empire Style, 

France, c. 1800 

Marble Clock with Ormolu Decoration, Made by 

Cachard, France, Period of Louis XVI - 

2 Clock Dials, Painted in Colors, European, Late 

18th Century Given by Mrs. William D. Frishmuth. 

Glass Vase, Syrian, Old ^ 

Mirror Knob, Millefiori Glass, U. S., c. 1850.... 

Glass Vase, Saracenic, 17th Century 

Glass Decanter, Blown in Mould, U. S., c. 1820 

Cut Glass Decanter, U. S., c. 1830 

Glass Dish, Blown in Figured Mould, U. S., c. )*Lent By Dr. Edwin AtLee Barber. 

Purple Glass Bottle, Made by Baron Henry Wil- 
liam Stiegel, Manheim, Penna., 1762-1774 

Collection of 22 Paper Weights, Millefiori Glass, 
etc., U. S., 1848-1878 - 

Bought — Annual Membership Fund. 



ACCESSIONS— Continued 



Metal work 






Paper Weight, Containing Bits of Colored Glass, 
Made by James Gillinder, Philadelphia, c. 

Glass Vase, Engraved and Gilded Decoration, 
Puebla, Mexico, 18th Century 

Cameo Carved Glass Bowl, Nasturtium Decora- 
tion, Made by Louis C. Tiffany, New York, 191 1 

Dark Red Glass Bottle, With Chevron Decora- 
tion, Phoenicia, c. 500 B. C 

Pulque Glass and Vase, Carved and Gilded Deco- 
ration, Puebla, Mexico, 18th Century 

Cameo Carved Glass Snuff Bottle, China, 18th 

3 Wine Glasses, Air Twist Stems, England, 18th 

Brass Slot Machine, England, Early 18th Century 

Silver Teaspoon, Made by N. Olmsted & Son, 
New Haven, Conn., c. 1830 

Silver Teaspoon, Made by George Baker, Provi- 
dence, R. I., c. 1825 

Silver Teaspoon, Made by J. O. and W. Pitkin, 
Hartford, Conn., c. 1830 

Silver Teaspoon, Made by I. Tanguy, U. S., c. 


Silver Teaspoon, Made by Riggs, Philadelphia, 
c. 1880 

Silver Teaspoon, Made by S. and E. Roberts, U. 
S., c. 1830 

Silver Teaspoon, Made by J. P. Fireng, Burling- 
ton, N. J., c. 1830 

Silver Tablespoon, Made by W. Ball, Philadel- 
phia, c. 1750 

Silver Sauce Ladle, Made by G. K. Childs, 
Philadelphia, c. 1837 

Silver Sugar-Tongs, Made by William Walker, 
Philadelphia, 1796- 181 1 

Silver Sugar-Tongs, Made by Allen Armstrong, 
Philadelphia, c. 1814 

Silver Sugar-Tongs, Made by H. J. Pepper, Phila- 
delphia, c. 1835 

Silver Tea Pot and Coffee Pot, U. S ' 

Silver Card Case, Repousse Decoration, U. S., 

Baby's Dress, White Cambric, Hand-Embroidered 
Pair of Slippers, Cross-Stitched on Canvas, U. 

S-, c. 1850 

Pair of Garters, Knit from Red, Black, and Yel 

low Wool, Stuttgart, Germany, c. 1812 

Brown and White Coat, Ancient Peruvian 

7 Dolls 

Hand Fire-Engine, Supposed to be the First One 
Used in Philadelphia, as Early as 1735 

Collection of Potter's Tools, From the Hunting- 
ton Pottery, Long Island, Early 19th Century 

Plaster Mould for Making Maiolica Plates, 
Phcenixville Pottery, Penna., c. 1880 

Carved Wooden Busk, U. S,, 1777 

Silhouette of Man, William Malsbury, U. S., 

Given by Mr. William T. Gillinder. 

Lent by Mrs. Cornelius Stevenson. 
Bought — Joseph E. Temple Trust. 

^Bought— Special Museum Fund. 
Given by Mr. John H. McFadden. 

> Lent by Mrs. Edwin AtLee Barbei. 

Lent by Mrs, Thomas Skelton Harri- 

Given by Mr. Walter Leland. 
Lent by Mrs. Edward Robins. 

Given by Mrs. William D. Frishmuth. 

Lent by the Numismatic and Anti- 
quarian Society. 
Lent by Miss Mary E. Sinnott. 

Given by Mrs. Frederic Courtland Pen- 

Given by Miss Clara B. Ray. 

Bought — 

Given by Mrs. William D. Frishmuth. 

Bought — 





John Story Jenks, Chairman 
Thomas Skf.lton Harrison 
John H. McFadden 
John T. Morris 
John W. Pepper 
r V. Seeler 

Edward T. Stotf.sbury 
Mrs. W. T. Carter 
Mrs. W. D. Frishmuth 
Miss Fannie S. Magee 
Miss Elizabeth C. Roberts 
Mrs. John Harrison, Ex Officio 

Miss Anna Blanchard, Honorary 
Edwin AtLee Barber, Director of the Museum 
Mrs. Cornelius Stevenson, Assistant Curator and Lecturer 


Textiles, Lace and Embroidery Mrs. John Harrison 

Oriental Pottery Mrs. Jones Wister 

European Porcelain Rev. Alfred Duane Pell 

Arms and Armor Cornelius Stevenson 

Furniture and Woodwork Gustav Ketterer 

Musical Instruments Mrs. W. D. Frishmuth 

Prints, Book Plates and Historic Seals Charles E. Dana 

Numismatics F. D. Langenheim 

Sculpture. Marbles and Casts Alexander Stirling Calder 

instruction committee 

Theodore C. Search, Chairman 
Charles Bono 
Isaac H. Clothier 
Charles E. Dana 
Thomas Skelton Harrison 
John Story Jenks 
Edgar V. Seeler 
(ones Wister 

Mrs. John Harrison, Ex Ofl'u-in 

William Wood 
Mrs. Rodman B. Ellison 
Mrs. F. K. Hipple 
Mrs. Thomas Roberts 
Mrs. Joseph F. Sinnott 
Mrs. C. Shillard Smith 
Mrs. John Wister 
Mrs. Jones Wister 


Mrs. Tohn Harrison 

Mrs. Edward H. Ocden 


Mrs. C. Shillard Smith 


Mrs. Joseph F. Sinnott 


Edwin Swift Balch 
Rudolph Blankf.nburc 
Louise W. Bodtne 
Jasper Yf.ates Brinton 
John H. Brinton 
William T. Carter 
Margaret Clyde 
Margaret L. CorLIES 
Ada M. Crozer 
D-wiD E. 

Mrs. Rodman B. Ellison Miss 

Countess Santa Eulalia Mrs. 

Miss Cornelia L. Ewing Mrs. 

Mrs. W. D. Frishmuth Mrs. 

Mrs. W. W. Gibbs Mrs. 

Mrs. C. Leland Harrison Miss 

Miss M. S. Hinchman Mrs. 

Mrs. F. K. Hipple Mrs. 

Mrs. J. L. Kettfri.inus Mrs. 

Miss Nina I Mrs. 

Fannie S. Macee 
Arthur V. Meics 
James Mifflin 
Francis F. Milne 
John W. Pepper 
Elizabeth C. Roberts 
Thomas Rouerts 
Cornelius Stevenson 
John Wister 
Jones Wister 


Mrs. M. Hampton Todd 

Miss Anna Blanchard